In both fiction and essays Stevenson displays the possession of an exquisite and finished style; his work is that of a true artist in words, and his example stimulated many of the younger artists of the day to more or less conscious imitation. His influence was also great in regard to the subject-matter of fiction. At a time when the novel had forgotten to tell a story and was running into minute philosophical analysis, Stevenson came forward with adventure as pure ly romantic as Scott's, though in structure, in method of description and narrative, and in brilliancy of style he marks the great technical advance which had been made since the days of the Morel-ley Novels. But it was not only the many delightful qualities of his written work which made Stevenson the best loved writer of his time; even more, perhaps, he was endeared to countless readers by the frank revelation of a most engaging personality, which shines through all his wo•ks—of a serene undaunted cheerfulness, gained not by shutting his eyes to the pathos and the difficulty of human conditions, but by a brave rising to the height of their de mands and an unwavering sense of the compen sations which such an attitude offers.
The most nearly completed collection of his works is the sumptuous Edinburgh edition, edited by Sidney Colvin (1894-98) ; two volumes of charming letters arranged by the same editor, with much biographical matter, appeared in 1899, and the Vailima Letters, written from Samoa in 1395. Consult also the biographies by his cousin Graham Balfour (London, 1901), Baildon (ib., 1901), Black (Edinburgh, 189S), and Cornford ( ib., 1899) ; also Simpson, Steven son's Edinburgh Days (London, 1898) ; Fraser, In Stevenson's Samoa (ib., 1895) ; Osbourne and Strong, Memories of Vailima (ib., 1903) ; and critical studies by Raleigh (London, 1895) ; James, in Portia) Portraits (ib., 1888) ; Chap man, in Emerson and Other Essays (New York, 1896). See also Ext4ilsit LITERATURE; NOVEL; ROMANTICISM.